Format : Study Score / Miniature
Outre la grande cantate pour l lection du conseil municipal de M hlhausen (dite Ratswahl-kantate) et l Offrande musicale la collection Clavier- bung fait partie des rares uvres de Bach dit es de son vivant. Cette collection est constitu e de quatre parties dont la premi re comprenant les six partitas parut en 1731 tandis que les parties II IV parurent respectivement en 1735 1739 et 1741/42. Les uvres r unies dans le pr sent volume sont issues de ces der-ni res. Le concerto italien et l Ouverture dans le style fran ais constituent la deuxi me partie et pro-posent une sorte d imitation au clavier de la musique orchestrale fran aise et italienne de l poque. Les Quatre duosfigurent dans la partie III de la Clavier- bung aux c t s d importantes uvres pour orgue mais leur criture deux voix convient parfaitement au pia-no ou au clavecin. Enfin les Variations Goldberg constituaient la quatri me partie de la Cla-vier- bung au moment de leur publication. Selon Forkel premier biographe de Bach un comte de Keyserlingk avait command Bach de la musique dont son claveciniste Johann Gottlieb Goldberg devait pouvoir lui jouer des morceaux doux et de caract re plut t gai pendant ses nuits d insomnie. Commande dont ont r sult des chefs-d uvre de premier plan.
SKU: YM.GTP01097742
ISBN 9784636977424.
17 well-known J.S. Bach's works are arranged by Eiichi Fujii. This series is produced by Eiichi Fujii, known as a highly sophisticated jazz piano arranger as well as a pioneer of jazz piano in Japan. All music sheets in the series have samples of trio ensemble performances for reference; they can be found just by reading the QR code in each book with smartphones.
SKU: HL.14003115
ISBN 9788774553236. UPC: 884088433291. 9.0x12.0x0.071 inches. International (more than one language).
Edited by Edwin Fischer.
SKU: HL.51481526
UPC: 196288278719. 9.0x12.0x0.116 inches.
In 1735 Bach published the Italian Concerto, presented here in a revised separate edition, together with the French Overture in the second part of his âClavier Ãbungâ. The two works were intended to respectively exemplify the Italian and French styles. Thus, the âConcertoâ unmistakably imitates an Italian solo concerto, using only the means of the harpsichord. Tutti and solo passages can be heard as well as the dynamic gradations of the sound layers, which Bach explicitly marked with piano and forte. Energetic outer movements frame an Andante, in which a melancholy cantilena unfolds over unadorned chords. For the revision of this Bach classic, editor Ullrich Scheideler also evaluated, in addition to the prints, early manuscript copies which allowed interesting conclusions about the lost autograph.
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